<nettime> [Peraicogram x3]: Re: [spectre] Klaudio Stefancic: New Media Art in Croatia

[Ana Peraica <ana.peraica@st.htnet.hr>]

               [digested @ nettime -- mod(tb)]

Ana Peraica <ana.peraica@st.htnet.hr>
     Re: <nettime> [spectre] Klaudio Stefancic: New Media Art in Croatia
     Re: <nettime> [spectre] Klaudio Stefancic: New Media Art in Croatia
     Re: <nettime> [spectre] Klaudio Stefancic: New Media Art in Croatia

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Date: Wed, 16 Jul 2008 13:11:50 +0200
From: Ana Peraica <ana.peraica@st.htnet.hr>
Subject: Re: <nettime> [spectre] Klaudio Stefancic: New Media Art in Croatia

Zeljko,

reading your text I read out the authorial speech "write the text" (in 
about 10 places) /// quoting ///.

Are you comissioning a text you already have a content by yourself? 
Well, i am not a secretary, but I might need one (any BA is ok)...

> I think my interpretation of Klaudio's perspective was clear,
> I am sorry if you fail to agree or comprehend.
> 
>> Mentioned networks are actually only nationally funded... There are much
>> more of places than mentioned and there are also events (previous to those
>> mentioned) which are not under the Soros or Ministry of culture fund.
> 
> maybe so - you are free to do so in your own way and your own summaries 

//q//

> if I remember correctly you had significantly more appealing contexts to do so
> in commisions to promote "Croatian" media art and culture
> (at least through ECF's project, writing in Springerin, NSK/Inke's web
> project...).

Not a tourist agency, and also i cannot read any arts, especially not 
media, in the context of The Nation.

>> There was a great exhibition Slike Prostora (Zvone was curating in Split),
>> there is a great underwater production lab by Ivo Dekovic's on Rt Razanj
>> merging each year students from Aachen and Split. And nearby there is also a
> 
> I agree it is a great pitty that Zvone's work was not visible in Croatia and
> that Ivo Dekovic did not work with curators/writers to promote those
> experiments.

there are annual exhibitions of works from the workshop in Razanj held 
in Zagreb and Zvone is regularly exhibiting in Split (Adria Art 
Annale...) his work was presented regularly especially Diocletian's 
palace he is working on for more than 15 years (magazine Dispet, various 
exhibitions)...

So it reads nicely that the workshop exists since 1996 on the Island 
Razanj and has been shown in Zagreb: 
http://www.culturenet.hr/v1/hrvatski/infoservisread.asp?id=6561

But the real problem might be that these two scenes (the capital and the 
  "summer international" city of Split are not connected.

Indeed WHAT WOULD BE ZAGREB if it wouldn't be a CAPITAL of a 4 million 
people country??? A small administrative center without any particular 
culture or history...

Initiatives as Otokultivator (cultivating an island?) and Splitconnect 
as well as presence of artists from Split are showing this...

First of all "cultivating an island" that has a been cultivated since an 
ancient Greek times and was a city bigger than Zagreb during most of the 
history sounds really weird, second Zidar Betonsky/UZGON was already on 
the island installing the workshop, but as well there were workshops by 
Senko Karuza/.

The second "making Split media literate" with Split Connect is also 
weird as it had international exhibitions of new media years in advance 
to the opening of MAMA, as well as labs around Zvone Bakotin, the first 
of which was connected to Feral Tribune.

But both have a sense of colonial relationship of The Capital towards 
its coast as a "summer place"...

>> great place Kalebova Luka where Patrice, Geert (if I remember correctly),
>> Fritz and others were coming in the early 90s till today, which is more than
>> important. There we were getting all the information on festivals, studies,
> 
> Maybe you should focus on those "summer" and
> "coastal" activities in your own text...

Un/fortunately "summer" and "coastal" activities are places of living 
for some people and these activities are international. Can that be the 
reason the national discourse in arts is not functional enough?

> I would be glad to send you info on local and informal work I was engaged
> with in SplitConnect to make sure it gets included.

Splitconnect? People that run away not paying their rent for 6 months 
and have put our names on the list without asking us????

>> even grants... Network of friends, not Soros funds...
> 
> Personally I do not see Soros's cultural funding to be less real/correct
> then substidized media culture work of the Netherlands/Germany/Austria...
> At times it prodused interesting and unique results, but sometimes it was
> as uninspiring as any average work in EU countries.

The problem is Soros funds has only managed to produce ego/power maniacs 
it seems...

>> It is all about people... not about nation or position. And there it is
>> really unfair not to mention the engagement of the Syndicate, some
>> Nettimers.  Croatia wasn't disconnected island during the 90s but it was
>> hard to travel so the Internet communities were functioning to bridge and
>> connect.
> 
> I do not read in Klaudio's text any implications of that sort.

Well Art Academy in Split is the last result of the decades of work by

1994 Slike prostora (images of Space) 
http://www.terranova-designstudio.com/engport/pages/design/bmedia/sp/front.htm
1996 Ivo Dekovic starts SubArt project at Razanj
1996 Bulaja / Grimani's work from Salon of Youth exhibited at Ars 
Electronica...
1996 Split film festival; annual editions of new media arts /check out 
the archive/ http://www.splitfilmfestival.hr/
1998 Sondscape at LADA 98 with interactive map of the sounds of the city 
of Split
http://www.nettime.org/Lists-Archives/nettime-l-9810/msg00155.html
http://mail.v2.nl/v2east/1998/second/0441.html

(...)

And MAMA was founded in 1999....

>> But I think old Nettimers actually know who was in Split in these years far
>> better and for how many years Split Film Festival was inviting and reporting
>> on Syndicate...
> 
> ...and if they are not that "old"?

?

ana

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Date: Wed, 16 Jul 2008 13:22:07 +0200
From: Ana Peraica <ana.peraica@st.htnet.hr>
Subject: Re: <nettime> [spectre] Klaudio Stefancic: New Media Art in Croatia

some missing links of the "coastal activities" : )))

Sub Art archive 1996 - 2006
http://www.sub-art.com/?page_id=2

Bakotin Merzbau in Space 1999
http://www.merzbau.org/Bakotin.html

...

ana

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Date: Wed, 16 Jul 2008 13:44:08 +0200
From: Ana Peraica <ana.peraica@st.htnet.hr>
Subject: Re: <nettime> [spectre] Klaudio Stefancic: New Media Art in Croatia

And some quotes... from where it is visible Zvone was working from  Split.

Ana

****

Dynamics of Critical Internet Culture (1994-2001)
Geert Lovink

http://eprints.unimelb.edu.au/archive/00000768/01/phd.pdf

36 On the Syndicate list there were regular diary-type messages from 
Branka and Andrej Tisma (Novi Sad), Larisa Blasic, Dejan Sretenovic and 
Slobodan Markovic (Belgrade), Melentie Pandilovki (Skopje), Marko 
Peljhan, Vuk Cosic and Michael Benson (Ljubljana), Zvonimir Bakotin 
(Split), Adele Eisenstein (Budapest), Enes Zlater (Sarajevo). Regular 
postings outside of 'the region' came from Andreas Broeckmann, Inke 
Arns, Ivan Zassoursky, Honor Harger, Sally Jae Norman, Frederic Madre, 
Florian Schneider, Micz Flor, amongst others.
37 Mike Stubbs, re: what is new(s), Syndicate,

75 The 'moral responsibility' thread took place on Syndicate in the June 
18-30 period with postings from Jennifer de Felice, Michael Benson, 
Slobodan Markovic, Bruce Sterling, Frederic Madre, McKenzie Wark, Inke 
Arns, James Stauffer, Sally Jay Norman, Zvonimir Bakotin, amongst 
others. There is an interesting posting from the Albanian curator Edi 
Muka, writing from Tirana a few days after the debate (June 22) in which 
he calls for Serbian intellectuals and artists to take a public stand 
about the atrocities committed against the Kosovo-Albanian population. 
"It is important because I want to normally talk to my Serbian 
colleagues, invite Serbian artists to Tirana, I want Serbian artists to 
have shows in Prishtina and I don't want to fear for their security. It 
is important because we must find a common language, because Serbs must 
not flee Kosova." See also Geert Lovink, Interview with Edi Muka, 
Syndicate, June 1, 1999.

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